Works

INSTALLAZIONI

RITAGLIARE LUNGO LA LINEA TRATTEGGIATA 17 - filo di cotone su carta intelata - cm 30x32 - 2021RITAGLIARE LUNGO LA LINEA TRATTEGGIATA 2021

ATROPOS - canapo da teatro su legno - cm 160x60 - 2020 (particolare 3)2020

LIBRO D’ARTISTA

ASEMIC 2020

ORDINE IMPERFETTO 2019

Caterina Ciuffetelli returns at the Forzani Gallery with her latest solo show “Imperfect Order“; a careful selection of works that from 2017 properly frame its latest production.

There is an eternally open question that haunts the minds of scientists and artists alike, inscrutable as bewitching is wearing by constitution, Time. Buying almost economic value time is spent but never manages to be evaluated or bartered in any way. This leads us to look for a bargaining chip so precious that we can get one more portion, a moment.

LANDSCAPE 2017/2018

DIAGRAM 2017/2018

PRE-HISTORIC 2017

In 2011, Michele Lambo drew my attention to this artist from Terni, Caterina Ciuffetelli, assuring me that her work would interest me. Curious, I took a look on the internet to see what she was doing. From Michele’s descriptions I had understood that she focuses on signs and I was pleased to confirm this.

Nelle opere della serie Langage di Caterina Ciuffetelli è proprio il senso essenziale della sacralità del linguaggio ad avanzare verso lo spettatore, con tutta l’immediatezza dell’impressione visiva.

What is left from the lesson made by abstract art?
Is it still up to date the possibility- as Léon Gischia said-to sostitute an imaginary real to the imitated real?” and more: can we keep on talking about peculiarity? Those are repeating questions, since the last decade’s painting has taken the realism and hyper-realism’s path.

Critical texts

In 1988 Caterina Ciuffetelli began her “poetry of line”: a work in progress in which signs – small or big, curvy, broken, gouged or lightly etched, in relief, all rendered shifting by the light – are what characterise her way of representing herself and the world in abstract forms. These signs impose themselves on the material of the background, and themselves become a part of this material, bestowing form to a language that has matured through an almost archaeological exploration of residual essences. The artist also traces signs on cellotex, a substance that is linked to the natural essence of wood. Her choice of material is indeed an integral part of her work and is the result of her need to return to the origins of her evolution as a painter and to the origins of existence. She uses material as a support on which to paint or to leave expressive traces even leaving it, in part, in its natural state so that it can be appreciated simply as material.

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